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Friday, May 28, 2010

Wednesday, May 26, 2010

In a Thakoon watercolor print dress.
In a Barbara Tfank floral print dress.

In a Moschino jacket and skirt (not pictured here).

In a Thakoon watercolor Gazar jacket.

In a Moschino Cheap & Chic dress.

In a Zero + Maria Cornejo geometric print dress.

Our First lady is obviously no stranger to the printed life! For the past year, she has not ceased to capture our attention and feed our imagination. Here is to more Mobama prints we cannot wait to try.

Lanvin designer Alber Elbaz refutes the rumors that have popped up a couple times that he will replace Karl Lagerfeld at Chanel. "It didn’t happen. It’s not happening," he tells Dirk Standen in the sixth installment of Style.com's "Future of Fashion" series, in which fashion people grapple with the Internet and online technologies. Some highlights from Elbaz's sprawling interview:

He doesn't think designers should be blamed for thin models.

We are being accused that some models are anorexic, but we as fashion designers cannot be blamed, because you know, when I talk to women around the world, rich and poor and young and old and intellectual and not, what they want to be is skinny. You ask them, what is your dream? It’s to be skinny. That’s all they want ... Me, as a designer that is not exactly skinny, all I want is comfortable clothes. All I want is beautiful. I mean, I like gray hair, I love wrinkles. But this is me.

He loves bloggers, but as a flawed species.

I have to tell you, I love bloggers. And I’m not telling you that because I’m [trying to] bribe them. Every morning I wake up and I see the blogs. There is something very innocent. There is something very honest. You can say, OK, they didn’t have the experience of seeing things. But again it’s another medium. That’s their opinion and it’s interesting to see how politically incorrect they are. Of course, when they say, “Oh my God, I love it,” I’m extremely happy. And when they say, “Oh my God, it’s a piece of shit,” I hate it.

When his partner told him Lanvin was "never cool," Elbaz replied:

I prefer being relevant to being cool, because if you’re cool, you’re also cold the next day. So it’s more about being relevant. The one thing that always scares me is to be like the Miss America of the moment, because next year there is a new Miss America.

He's offended by celebrity fashion lines.

I feel that some celebrities think that because they are famous, they can do fashion. Imagine if I want to be now a dancer. Trust me, I can’t. I can’t jump. I can’t even limp from one point to another. I feel that there is this kind of confusion.

He cares about his employees.

We have to produce in order to have a salary for the people who work for us. This is the pressure I feel season after season when I sketch. When I have this one week I take to sketch, I sit in my apartment and I try to sketch, and all I think about is the people that are working there, that I have to do a good job in order for them to have a salary. And that’s a huge pressure, season after season.

He cares about what women buy.

I check the sales every morning, every morning, every morning. It’s not that I work on commission and I want to see how much I’m going to get tonight. It’s not about that. But I need to know if I’m doing something right.

He doesn't like knockoffs, but feels conflicted.

And sometimes I have to tell you that I sit and work in the studio days and nights and weekends on an idea, and then a week or a month or two months after the show I see it everywhere, and I don’t know if I have to be happy about it or sad. I guess I decided not to look and wear, like, thick sunglasses in purple and red, so when people ask me, did you see, I say I don’t speak English.
By: Amy Odell

Tuesday, May 18, 2010

Since there is nothing like a little retail therapy on a gloomy day, we've posted sample sales starting and ending today on the side bar, just for you! Shop away and let the sunshine in. Enjoy!
Love, Kelie.

Monday, May 17, 2010

From shooting all these street looks we've quickly realized that we are obsessed with accessories! Take a look at our latest finds in the ring department!
This ring is from one of our favorite vintage stores. Hooti Couture!
Love,
Kelie

Monday, May 10, 2010

From May 7th to August 1st, 2010 the Brooklyn Museum of Art is presenting an exhibition of some of its most renowned costume pieces. American High Style: Fashioning a National Collection showcases some of the work of the first generation of female designers such as Bonnie Cashin, Elizabeth Hawes, and Claire McCardell along with several European designers who greatly influenced American Fashion notably Charles Frederick Worth, Elsa Schiaparelli, Jeanne Lanvin, Jeanne Paquin, Madelaine Vionnet and Christian Dior. The partnership between the Brooklyn Museum of Art and the Metropolitan Museum of Art is one not to be missed. Here is a sneak peak :
Jessie Franklin Turner (American, 1881–circa 1956). Evening Ensemble, circa 1930. Black-and-white silk slipper satin. Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of the estate of Mary Boocock Leavitt, 1974 (2009.300.511a–c)

This luxurious slipper-satin ensemble, which epitomizes the look and drama of 1930s evening wear, is distinguished by the unlikely pairing of glamour and versatility. The ensemble includes two long-sleeved over pieces, each of which is worn over the dress bodice to modify the silhouette and amount of skin exposure. Jessie Franklin Turner’s early relationship with the Brooklyn Museum is documented to 1923, when she designed dresses using fabric inspired by African textile patterns shown at the Museum.
Norman Norell (American, 1900–1972). Evening Ensemble, 1970–71. Gold organdy, beaded gold silk jersey. Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Toni Tavan Ausnit, 1990 (2009.300.1383a–b)

This design invites multiple interpretations. The form alludes to the extreme bustles of the 1880s and at the same time can be imagined as a transformation of the female body into that of a butterfly with iridescent wings that shimmer when they move. References to the past aside, it was a form hitherto unknown in the history of fashion. Twenty-five yards of tulle were used in its making.

Rhodoid was a newly developed material that suited Elsa Schiaparelli’s design intent for this, perhaps her most macabre and certainly one of her most iconic designs. The transparent foundation creates the illusion that the insects are crawling directly on the skin of the wearer’s neck. Yet Schiaparelli was never too heavy-handed: her choice of brightly colored, toy-like ornaments tempers the repugnant effect.
Love,
Kelie

Wednesday, May 5, 2010

As it is tradition, the Metropolitan Museum of Art opened it's doors on Monday night to launch their American Woman: Fashioning National Identity exhibition. The premiere, which took about 10 months to prepare, attracted some of the worlds most influential taste makers and trendsetters. They graced the museum's steps to celebrate fashion and women. Here is what they wore:

FWAC for Haiti relief

Purchase t-shirt here.

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